The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com Video from Artists, discussions of New and Emerging ideas in Art Video from Artists, discussions of New and Emerging ideas in Art [Note: This is a Video Podcast.] The Art Gallery of Knoxville is dedicated to promoting experiments in new Art. This podcast features videos by artists, including "video art" - interviews and documentation of exhibitions. EN The Art Gallery of Knoxville art.gallery.knoxville@gmail.com Arts http://www.theartgalleryofknoxville.com/podcast/podcast.jpg http://www.theartgalleryofknoxville.com Public Collectors http://www.theartgalleryofknoxville.com/podcast/Transformation1.PDF A truly multi-disciplinary journal which affirmed that "art, science, technology are interacting components of the total human enterprise..." This publication, which existed for only three issues, treated the arts and sciences "as a continuum." A truly multi-disciplinary journal which affirmed that "art, science, technology are interacting components of the total human enterprise..." This publication, which existed for only three issues, treated the arts and sciences "as a continuum." PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used, for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most comfortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise. Public Collectors is administered by Marc Fischer. If you have a collection that you would like to make public or digital materials you would like to share, please contact: marc@publiccollectors.org Complete Publications in PDF form These publications are included in the Digital Collections section of the Public Collectors website as PDF files. They have been scanned in their entirety and are free for to download. All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. http://www.theartgalleryofknoxville.com/podcast/Transformation1.PDF Wed, 4 Jun 2008 00:00:00 EST no Public Collectors, Artist Book, Museum, Copyshop, Art, New Media Art, Art, Gallery Public Collectors http://www.theartgalleryofknoxville.com/podcast/CleggGuttmann.pdf Clegg and Guttmann declared a road underpass with no relation to art to be an exhibition space. Clegg and Guttmann declared a road underpass with no relation to art to be an exhibition space. PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used, for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most comfortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise. Public Collectors is administered by Marc Fischer. If you have a collection that you would like to make public or digital materials you would like to share, please contact: marc@publiccollectors.org Complete Publications in PDF form These publications are included in the Digital Collections section of the Public Collectors website as PDF files. They have been scanned in their entirety and are free for to download. All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. http://www.theartgalleryofknoxville.com/podcast/CleggGuttmann.pdf Wed, 4 Jun 2008 00:00:00 EST no Public Collectors, Artist Book, Museum, Copyshop, Art, New Media Art, Art, Gallery Public Collectors http://www.theartgalleryofknoxville.com/podcast/DonCelender.pdf Celender reproduced the results of a 2 year survey that he conducted where he sent questionnaires to the Chief Security Officers of 1,200 museums in 125 countries. Celender reproduced the results of a 2 year survey that he conducted where he sent questionnaires to the Chief Security Officers of 1,200 museums in 125 countries. PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used, for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most comfortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise. Public Collectors is administered by Marc Fischer. If you have a collection that you would like to make public or digital materials you would like to share, please contact: marc@publiccollectors.org Complete Publications in PDF form These publications are included in the Digital Collections section of the Public Collectors website as PDF files. They have been scanned in their entirety and are free for to download. All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. http://www.theartgalleryofknoxville.com/podcast/DonCelender.pdf Wed, 4 Jun 2008 00:00:00 EST no Public Collectors, Artist Book, Museum, Copyshop, Art, New Media Art, Art, Gallery Public Collectors http://www.theartgalleryofknoxville.com/podcast/Fischer_Richard.pdf Created for the occasion of an exhibition at Columbia College, Chicago titled "Exalted Trash", this booklet focuses on the friendship and postal correspondence of artists Fischer and Richard. Created for the occasion of an exhibition at Columbia College, Chicago titled "Exalted Trash", this booklet focuses on the friendship and postal correspondence of artists Fischer and Richard. PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used, for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most comfortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise. Public Collectors is administered by Marc Fischer. If you have a collection that you would like to make public or digital materials you would like to share, please contact: marc@publiccollectors.org Complete Publications in PDF form These publications are included in the Digital Collections section of the Public Collectors website as PDF files. They have been scanned in their entirety and are free for to download. All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. http://www.theartgalleryofknoxville.com/podcast/Fischer_Richard.pdf Wed, 4 Jun 2008 00:00:00 EST no Public Collectors, Artist Book, Museum, Copyshop, Art, New Media Art, Art, Gallery Public Collectors http://www.theartgalleryofknoxville.com/podcast/BrunoRichard.pdf Early publication by Paris-based artist Bruno Richard consists of garishly colored and highly agressive drawings abstracted from photos of women and men in the military. Early publication by Paris-based artist Bruno Richard consists of garishly colored and highly agressive drawings abstracted from photos of women and men in the military. PUBLIC COLLECTORS Public Collectors consists of informal agreements where collectors allow the contents of their collection to be published and permit those who are curious to directly experience the objects in person. Participants must be willing to type up an inventory of their collection, provide a means of contact and share their collection with the public. Collectors can be based in any geographic location. Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used, for buying and selling objects. There are many preexisting venues for that. Collectors can accommodate viewers at whatever location is most comfortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project. In addition to hosting collection inventories and other information, www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise. Public Collectors is administered by Marc Fischer. If you have a collection that you would like to make public or digital materials you would like to share, please contact: marc@publiccollectors.org Complete Publications in PDF form These publications are included in the Digital Collections section of the Public Collectors website as PDF files. They have been scanned in their entirety and are free for to download. All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. http://www.theartgalleryofknoxville.com/podcast/BrunoRichard.pdf Wed, 4 Jun 2008 00:00:00 EST no Public Collectors, Artist Book, Museum, Copyshop, Art, New Media Art, Art, Gallery Rasmus Fleischer http://www.theartgalleryofknoxville.com/podcast/GRM_please_print_double_sided.pdf Notes from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Notes from the Berlin-based project The Oil of the 21st Century (www.oil21.org) "Copyright is not a totality of rights, but a social relation between people which is mediated through rights." – Robert Luxemburg, Die Gesellschaft des Geistigen Eigentums IV Here follows some notes sprung from participation of the Berlin-based project “The Oil of the 21st Century” (www.oil21.org). During 2007 it has delved into this rather hallucinatory thing known as intellectual property, with the explicit aim to “provide fewer answers and more questions”. Rasmus Fleischer (rasmus@piratbyran.org) Berlin/Stockholm/Umeå, oct-nov 2007 Please circulate comments, copies, clips oil21.org theartgalleryofknoxville.com Layout by Harsh Patel (2008) http://www.harshpatel.com/ http://www.theartgalleryofknoxville.com/podcast/GRM_please_print_double_sided.pdf Sat, 1 Mar 2008 00:00:00 EST no copyfight, copyleft, law, piracy, RIAA, MPAA, Oil21, Copyshop, Copyright, Art, New Media Art, Art, Gallery The Oil of the 21st Century (www.oil21.org) Rights Management conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Rights Management conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Digital Rights Management (DRM) not only a proposes a set of new technological measures against unauthorized copying. It also promotes, on a conceptual level, an idea of individual rights that are no longer declared or granted, but  instead directly implemented as  the functionality - or the defects - of technology. Rights Management in general appears to be one of the  most far-reaching new paradigms of control. The field of rights that it promises to manage stretches far beyond the Intellectual Property of the entertainment industry. In its most general form, Digital Rights Management will lead to Political Rights Management: an entirely new framework for various forms of hidden access restrictions and censorship in an increasingly networked world. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. http://www.theartgalleryofknoxville.com/podcast/Oil21_General_Rights_Management.mp4 Sat, 1 Mar 2008 00:00:00 EST no1:02:05 copyfight, copyleft, law, DRM, rights management, piracy, RIAA, MPAA, Oil21, Copyshop, Copyright, Art, New Media Art, Art, Gallery The Oil of the 21st Century (www.oil21.org) File Sharing and Culture conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) File Sharing and Culture conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Peer-to-peer networks are here to stay. Often dismissed as a mere conspiracy of teenage consumers against the media industry, these networks have become one of the most powerful and resilient environments for the collaborative production and reproduction of cultural data. Thus it seems that the question of file-sharing is no longer just a matter of identifying and routing around its corporate adversaries. Instead, it is becoming a question of organization. One can already make out a multitude of new initiatives, groups, alliances, coalitions and business entities that are heavily - and not only ideologically - invested in the future of peer-to-peer protocols and infrastructure. The next Culture Industry may already be in the making. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. http://www.theartgalleryofknoxville.com/podcast/Oil21_File-Sharing_as_Culture_Industry.mp4 Sat, 1 Mar 2008 00:00:00 EST no1:45:56 copyfight, copyleft, law, technology, DIY, File Sharing, Pirate Bay, Mininova, torrent freak, rights management, piracy, RIAA, MPAA, Oil21, Copyshop, Copyright, Art, New Media Art, Art, Gallery The Oil of the 21st Century (www.oil21.org) Operating case by case, rights in relation to Intellectual Property in conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Operating case by case, rights in relation to Intellectual Property in conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Current debates about Intellectual Property are often focused on the level of national law - and the need for its international harmonization - and the sphere of universal rights, like freedom of speech or access to information and medicine. Still, neither the vision of globalized law nor the desire for universal human rights seem to do justice to the facts on the ground, to the specific nature of the contained and often local Intellectual Property conflicts in everyday life. These conflicts are, essentially, cases: not so much applications of universal principles or denials of abstract rights, but rather particular and often unique constellations of power. Strategies for interventions in the field of Intellectual Property may have to acknowledge that they can only operate case by case. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. http://www.theartgalleryofknoxville.com/podcast/Oil21_Keep_Up_Your_Rights_Case_by_Case.mp4 Sat, 1 Mar 2008 00:00:00 EST no1:53:32 copyfight, copyleft, law, technology, DIY, File Sharing, Intellectual Property, rights management, piracy, RIAA, MPAA, Oil21, Copyshop, Copyright, Art, New Media Art, Art, Gallery The Oil of the 21st Century (www.oil21.org) Possible modes of production and the small author, conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) Possible modes of production and the small author, conversation from the Berlin-based project The Oil of the 21st Century (www.oil21.org) In the age of digital reproduction, the problem of the “small author” remains: as the problem of the Intellectual Proprietor and his or her material reproduction, but also, and more importantly, as a problem of a specific political mentality. Among the many possible modes of production and subjectivation, the figure of the “small author” - who is always already deprived from the fruits of his hard labor, either by “the industry” or by “the pirates” - may be the most unfortunate one. But for the masses who know that they will never be part of a thriving global middle class of Intellectual Proprietors, there are other options. Not to entrench themselves against technological progress, but to radically embrace it: to explore new forms of collaboration and production beyond traditional authorship, to employ the most advanced methods of digital reproduction, and to reaffirm the instability of property relations. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. http://www.theartgalleryofknoxville.com/podcast/Oil21_The_Poverty_of_the_Small_Author.mp4 Sat, 1 Mar 2008 00:00:00 EST no1:48:43 copyfight, copyleft, law, technology, poverty, authorship, digital reproduction, politics, rights management, piracy, RIAA, MPAA, Oil21, Copyshop, Copyright, Art, New Media Art, Art, Gallery League of Noble Peers Long Live The Pirate Bay! Long Live The Pirate Bay! The Pirate Bay is the worlds largest bittorrent tracker. Bittorrent is a filesharing protocol that in a reliable way enables big and fast file transfers. This is an open tracker, where anyone can download torrent files. To be able to upload torrent files, write comments and personal messages one must register at the site. This is of course free. The members at The Pirate Bay represents a broad spectrum of file sharers. Therefore material that seem offensive might be available. Do not contact us if there is anything you find offensive, instead focus on the material that you find positive. The Pirate Bay only removes torrents if the name isn't in accordance with the content. One must know what is being downloaded. Only torrent files are saved at the server. That means no copyrighted and/or illegal material are stored by us. It is therefore not possible to hold the people behind The Pirate Bay responsible for the material that is being spread using the tracker. Any complaints from copyright and/or lobby organizations will be ridiculed and published at the site. The Pirate Bay was started by the swedish anti copyright organization Piratbyrån in the late 2003, but is since October 2004 separated and run by dedicated individuals. Using the site is free of charge, but since running it costs money, donations are very much appreciated. On May 31, 2006, the site's servers, located in Stockholm, were raided by Swedish police, causing it to be offline for three days. Later it came online with new hosting in the Netherlands – The Pirate Bay has since taken measures to ensure a restoration time of hours rather than days. On June 14, 2006 the Swedish newspaper SvD reported that The Pirate Bay was back in Sweden due to "pressure from the Department of Justice [in the Netherlands]." Upon reopening, the site's number of visitors doubled, the increased popularity attributed to greater exposure through the recent media coverage. The raid, alleged to be politically motivated and under pressure from the MPAA, was reported as a success by the MPAA in the immediate aftermath, but with the site being restored within days and the raising of the debate in Swedish culture, The Pirate Bay and other commentators considered it "highly unsuccessful". Swedish prosecutors had announced that charges would be filed before the end of January 2008 against five individuals concerned and eventually, on January 31, 2008, they filed charges against four of the individuals behind The Pirate Bay. http://courtblog.thepiratebay.org/ http://www.theartgalleryofknoxville.com/podcast/StealThisFilm1.m4v Mon, 11 Feb 2008 00:00:00 EST no32:16the pirate bay, pirate bay, Piratbyrån, copyright, copyleft, law, steal this film, pirates, League of Noble Peers, Copyshop, Copyright, Art, New Media Art, Art, Gallery League of Noble Peers Battles between the Pirate and the institution of Copyright Battles between the Pirate and the institution of Copyright The League of Noble Peers bring us a documentary about the "'battles' between old and new modes of distribution - between the pirate and the institution of copyright." http://stealthisfilm.com/Part2/ http://www.theartgalleryofknoxville.com/podcast/StealThisFilm.m4v Tue, 1 Jan 2008 00:00:00 EST no44:43copyright, copyleft, law, steal this film, pirates, League of Noble Peers, Lawence Liang, Yochai Benkler, Copyshop, Copyright, Art, New Media Art, Art, Gallery Andreas Johnsen, Ralf Christensen, and Henrik Moltke Documentary film about copyright and culture, features interviews with Danger Mouse, Girl Talk, Siva Vaidhyanathan, Lawrence Lessig, and many others Documentary film about copyright and culture, features interviews with Danger Mouse, Girl Talk, Siva Vaidhyanathan, Lawrence Lessig, and many others Good Copy, Bad Copy Documentary film (Denmark, 2007) Featuring, in order of appearance: GIRL TALK, Producer DR LAWRENCE FERRARA, Director of Music Department NYU PAUL V LICALSI, Attorney Sonnenschein JANE PETERER, Bridgeport Music DR SIVA VAIDHYANATHAN, NYU DANGER MOUSE, Producer DAN GLICKMAN, CEO MPAA ANAKATA, The Pirate Bay TIAMO, The Pirate Bay RICK FALKVINGE, The Pirate Party LAWRENCE LESSIG, Creative Commons RONALDO LEMOS, Professor of Law FGV Brazil CHARLES IGWE, Film Producer Lagos Nigeria MAYO AYILARAN, Copyright Society of Nigeria OLIVIER CHASTAN, VP Records JOHN KENNEDY, Chairman IFPI SHIRA PERLMUTTER, Head of Global Legal Policy IFPI PETER JENNER, Sincere Management JOHN BUCKMAN, Magnatune Records BETO METRALHA, Producer Belm do Par Brazil DJ DINHO, Tupinamb Belm do Par Brazil Directed by: ANDREAS JOHNSEN RALF CHRISTENSEN HENRIK MOLTKE Editor: ADAM NIELSEN Facility: LITTLEMACHINE Photography: ANDREAS JOHNSEN HENRIK MOLTKE RALF CHRISTENSEN Additional material: RAMON and PEDRO LEAGUE OF NOBLE PEERS MUSIKPROGRAMMET SVT RAPPORT TOMAS LINDH BILL PLYMPTON MPAA ATMO / JOHAN SDERBERG Sound Post Production: KIM G HANSEN Music: RJD2 TRACK 72 PHOENICIA JOHN TEJADA REQ SHEX SANTOGOLD REX JIM LAWSON DR VICTOR OLAIYA PHARFAR GIRL TALK DANGER MOUSE MIKKEL MEYER GNARLS BARKLEY DE LA SOUL NWA Translations: MARIANA COBRA ANNA SBOTINOVA Graphics: REDOUANE OUMAHI Thanx to: GUSTAVO GODINHO IBIYEMI OLUFOWOBI AYO ALAO YURY YARUSHNIKOV FRED BENENSON BRIGITTE ALFTER FILIP STRUWE MARTIN VON HALLER ERIK HANSEN SHANNON HAN LINE FELDING Produced by: ROSFORTH http://www.goodcopybadcopy.net/ http://www.theartgalleryofknoxville.com/podcast/goodcopybadcopy.mp4 Mon, 17 Dec 2007 00:00:00 EST no58:54Good Copy, Bad Copy, GIRL TALK, DANGER MOUSE, The Pirate Bay, TIAMO, LAWRENCE LESSIG, Creative Commons, Nigeria, BETO METRALHA, Brazil, DJ DINHO, Copyshop, Copyright, Art, New Media Art, Art, Gallery AGoK COPYSHOP / SUPERCOPY / COPY RIGHT COPYSHOP / SUPERCOPY / COPY RIGHT COPY SHOP COPYSHOP markets products that challenge the subject of intellectual property. Its inventory includes modified originals, improved copies and political anti-brands – all products that discuss the existing notion of intellectual property rights as a prerequisite for development and economic growth. Also, the COPYSHOP is a forum for diverse groups who share a critical view on intellectual property. COPYSHOP is a franchise model for likeminded shops all over the world. SUPERCOPY SUPERCOPY is a value increasing branding tool that can be applied to all kinds of copy products. By applying the SUPERCOPY stamp on an existing copy product, the consumer creates a new original – more unique and potentially more valuable than both the copy and the original product. COPY RIGHT COPY RIGHT illustrates a consumer’s right to customize rightfully purchased products. The COPY RIGHT project corrected blatant replicas of famous Arne Jacobsen chairs. The chairs were procured in low-price furniture houses and were modified to look exactly like the chairs that they imitated. By modifying the imitations, double value was created: The modified chairs are a new, unique work of art – and at the same time they convey the luxurious air of designer chairs much more precisely than the original imitation chairs. http://copy-shop.org http://www.superflex.net/ http://www.theartgalleryofknoxville.com/podcast/copyshop.mp4 Tue, 16 Oct 2007 00:00:00 EST no1:34Copyshop, Superflex, Free Beer, Conceptual Art, New Media Art, Art, Gallery AGoK Shared criteria for knowing (using) a concept - imbedded in a one's individual (private) history of sociality. Shared criteria for knowing (using) a concept - imbedded in a one's individual (private) history of sociality. This video documents an investigation into perception and real time informational "feedback." Children answer questions about the "Growing Tennessee" project - and how the project may be used in other contexts. It is the individual's social history of use of concepts and knowledge of exemplars which serves as socially, shared criteria for correctness of meaning. Such social knowledge is imbedded in a one's individual (private) history of sociality. Therefore knowledge of other minds is not a mystery. When evidence of the shared criteria for knowing a concept is recognized (either individually or collectively), we say that we have an "understanding" of the mind of another person at which point the distinction between subjectivity and objectivity collapses. For Wittgenstein, it is language (consensual) relationships which are paramount in defining knowledge. Knowledge is something which has political, moral, ethical, and historical purposes within the time and place of a particular society. Knowledge is not "pure" and enduring but rather serves the purposes of people within a particular society. For Foucault, it is social (power) relationships which are paramount in defining knowledge. http://www.theartgalleryofknoxville.com/podcast/gntn.m4v Fri, 17 Aug 2007 00:00:00 EST no1:45Growing Tennessee, Relational Aesthetics, Activism, Networks, New Media Art, Art, Gallery AGoK Temporary Autonomous Space: (no good architecture) Temporary Autonomous Space: (no good architecture) Temporary Autonomous Space: (no good architecture) (Performer/Audience/Mirror) http://www.theartgalleryofknoxville.com/podcast/autonomous-space.m4v Fri, 20 Jul 2007 00:00:00 EST no5:01Temporary Autonomous Space, Activism, Networks, New Media Art, Art, Gallery r4WB1t5 micro.Fest Excerpt of (A) r4WB1t5 micro.Fest 2007.01.05 Knoxville TN Excerpt of (A) r4WB1t5 micro.Fest 2007.01.05 Knoxville TN Final performance of (A) r4WB1t5 micro.Fest 2007.01.05 Knoxville TN Video by Richard Bennett Resampled by Chris Molinski Pertformers: Operators of E.D.E.N. + Curt Cloninger + Chris Molinski + jonCates + jon.satrom // (A) r4WB1t5 (A) r4WB1t5 micro festival is a new platform or framework for (A)narchistic forms of decentralized mini or micro festivals to self-organize around themes + theorypractices of raw bits of digital art + dirty new media. like dorkbot http://dorkbot.org/ pirate cinema http://piratecinema.org/ ++ the [NewMediaArtProjectNetwork] http://www.nmartproject.net/ (A) r4WB!t5 micro.fest is an open + decentralized platform for playing realtime systems in conversational contexts. // .ORG organize + host your own (A) r4WB1t5 micro.fest now! we are currently [contacting/connecting] ppl who are interested in the project in order to facilitate + encourage them to participate, collaborate + organize (A) r4WB1t5 micro.fests. contact us @ this addy: r4wb1t5 AT gmail.com (A) r4WB1t5 contexts will change from peer 2 peer, event 2 event, city 2 city, nationstate 2 nationstate. // CONFIG (A) r4WB1t5 micro.fests are configured w/ new media modalities, methodologies + intentions in mind, i.e. setting up the structure itself to be multiple, modular, distributed, microrevolutionary, rhizomatic, etc. configuring r4wb1t5 this way is in keeping w/the development of an application, platform [+/or] framework for conversations to happen around the themes of r4WB1ts. // DEFN (A) r4WB1t5 micro.fest is a floating signifier, an unanchored link in sea of hypermedia + a form of active participation in transient + unstable new media cultures. // PLAY want to play, pform or show work @ (A) r4WB1t5 micro.fest? have sum dirty beats, corrupted files, unsafe modes [+/or] broken electromechanical methodologies? contact the ever-changing list of (A) r4WB1t5 micro.fest organizers + get involved! contact sum of the current (A) r4WB1t5 micro.fest organizers: jonCates: joncates AT criticalartware.net jon.satrom: jon AT selectall.org (A) r4WB1t5 micro.fest: r4wb1t5 AT gmail.com ++++++++++++++++++++++++++++++++++++++++++++ +++ (A) r4WB1t5 micro.Fest @ Pilot Light +++ ++++++++++++++++++++++++++++++++++++++++++++ * FREE + OPEN share, {exchange|distribute} ++ create crossroads of digital punk, blues musics + freak folktronics as forms of protest + resistance to current socio-economic situations + political contingencies! (A) r4WB1t5 rocks digital systems @ Pilot Light, with a realtime audio and video jamboree by r4WB1t5 participants from Knoxville, Chicago and beyond with: Curt Cloninger - lab404 (Asheville NC .US) performing realtime audio video http://lab404.com/video/francis.html Fecal Japan (Knoxville TN .US) playing experimental noise musics http://www.myspace.com/fecaljapanolecularization Cindy Latham (Knoxville TN .US) screening digital video http://www.cindylatham.com/ Operators of E.D.E.N. (Chicago IL .US) operating a utopian switch board system http://geocities.com/operatorsofeden/ AND MORE! in an open cybernated jam session including these artists as well as the r4WB1t5 micro.Fest organizers themselves, Chris Molinski, jonCates, jon.satrom and jake elliott. a folksonema screening opens the night @ Pilot Light with metatagged media from all across the global interweb super sprawl. ++++++++++++++++++++++++++++++++++++++++++++++ + (A) r4WB1t5 micro.Fest network connections + ++++++++++++++++++++++++++++++++++++++++++++++ http://r4wb1t5.org/2007.01.05/ http://www.myspace.com/pilotlightclub http://folksonema.nothingistrueeverythingispermitted.com http://www.flowerglass.net http://0p3nfr4m3w0rk.org/install http://del.icio.us/tag/0P3NFR4M3W0RK http://www.flickr.com/photos/tags/0P3NFR4M3W0RK email: play@r4wd10pl4y84ck800m80x0r.org http://r4wd10pl4y84ck800m80x0r.org/play email: play@r4wd10pl4y84ck800m80x0r.org http://del.icio.us/tag/R4WD10PL4Y84CK800M80X0R http://www.theartgalleryofknoxville.com http://www.theartgalleryofknoxville.com/podcast/r4WB1t5-2007.01.05.mp4 Tue, 1 May 2007 00:00:00 EST no56:22Video Art, r4wb1t5, Video, Knoxville, criticalartware, Networks, New Media Art, Art, Gallery Cindy Latham Video by Cindy Latham, (A) r4WB1t5 micro.Fest 2007.01.05 Knoxville TN Video by Cindy Latham, (A) r4WB1t5 micro.Fest 2007.01.05 Knoxville TN Cindy Latham Marked (2007) Digital video Marked uses images of flags to symbolize the boundaries that separate physical spaces. Ideas of land ownership and national borders are represented with the realism of video and the artificiality of animation. Cindy Latham is an artist living and working in Knoxville, Tennessee. She received her M.F.A in Electronic Art from the University of Cincinnati. Her work examines modern ideas on social and political institutions through the use of video, animation, and interactive media. ++++++++++++++++++++++++++++++++++++++++++++ +++ (A) r4WB1t5 micro.Fest @ Pilot Light +++ ++++++++++++++++++++++++++++++++++++++++++++ * FREE + OPEN share, {exchange|distribute} ++ create crossroads of digital punk, blues musics + freak folktronics as forms of protest + resistance to current socio-economic situations + political contingencies! (A) r4WB1t5 rocks digital systems @ Pilot Light, with a realtime audio and video jamboree by r4WB1t5 participants from Knoxville, Chicago and beyond with: Curt Cloninger - lab404 (Asheville NC .US) performing realtime audio video http://lab404.com/video/francis.html Fecal Japan (Knoxville TN .US) playing experimental noise musics http://www.myspace.com/fecaljapanolecularization Cindy Latham (Knoxville TN .US) screening digital video http://www.cindylatham.com/ Operators of E.D.E.N. (Chicago IL .US) operating a utopian switch board system http://geocities.com/operatorsofeden/ AND MORE! in an open cybernated jam session including these artists as well as the r4WB1t5 micro.Fest organizers themselves, Chris Molinski, jonCates, jon.satrom and jake elliott. a folksonema screening opens the night @ Pilot Light with metatagged media from all across the global interweb super sprawl. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + (A) r4WB1t5 micro.Fest @ The Art Gallery of Knoxville + +++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++ @ The Art Gallery of Knoxville, upload art to 0P3NFR4M3W0RK (images) + R4WD10PL4Y84CK800M80X0R (audio) to make a mashed up cinema machine! 0P3NFR4M3W0RK projects your digital images into an open golden frame on the Gallery wall while R4WD10PL4Y84CK800M80X0R transits your audio files on a micro.Radio station broadcasting to olde skool boomboxes! ++++++++++++++++++++++++++++++++++++++++++++++ + (A) r4WB1t5 micro.Fest network connections + ++++++++++++++++++++++++++++++++++++++++++++++ http://r4wb1t5.org/2007.01.05/ http://www.myspace.com/pilotlightclub http://folksonema.nothingistrueeverythingispermitted.com http://www.flowerglass.net http://0p3nfr4m3w0rk.org/install http://del.icio.us/tag/0P3NFR4M3W0RK http://www.flickr.com/photos/tags/0P3NFR4M3W0RK email: play@r4wd10pl4y84ck800m80x0r.org http://r4wd10pl4y84ck800m80x0r.org/play email: play@r4wd10pl4y84ck800m80x0r.org http://del.icio.us/tag/R4WD10PL4Y84CK800M80X0R http://www.theartgalleryofknoxville.com http://www.theartgalleryofknoxville.com/podcast/flags.mov Mon, 2 Apr 2007 00:00:00 EST no7:19Video Art, Cindy Latham, Video, Knoxville, criticalartware, Networks, New Media Art, Art, Gallery criticalartware Dan Sandin (2003.04.09) interview by criticalartware Dan Sandin (2003.04.09) interview by criticalartware Dan Sandin Electronic Visualization Lab University of Illinois at Chicago interviewed by criticalartware 2003.04.09 !DAN SANDIN! since the late 1960's Dan Sandin has developed artware systems integrating digitial and analog computers, customized circuits, home{brewed|built}-hardware, video games + virtualReality. Sandin, a professor @ the University of Illinois at Chicago, founded the Electronic Visualization Lab (EVL), created the Sandin Image Processor (I.P.), developed the CAVE virtual reality (VR) system + various other [artware systems/technologies/projects/pieces]. Dan Sandin's Image Processor (built from 1971 - 1973) offered artists unprecedented abilities to [create/control/affect/transform] video + audio data, enabling live audio-video performances that literally set the stage for current praxis. open sourcing the plans for the Image Processor as an [artware/system/toolset] Dan Sandin + Phil Morton created the Distribution Religion. as a predecessor to the open source movement, this approach allowed artists to engage with these systems + continues to [interest/inspire] [artisits/developers]. honoring the Distribution Religion, the innovative hystory of the Image Processor + addressing the vibrant potential of these systems criticalartware archived the Distribution Religion, converted the documents to a single PDF file + now releases these plans to the {critical|artware} community. criticalartware interviews Dan Sandin, [discussing/illuminating] the community + development of the early moments of video art in Chicago, artware, performing live audio-video, virtual reality, open source movements, righteous NTSC outputs, the video revolution + the changes ++ similarities that [bridge/differentiate] then and now. criticalartware freely offers this interview as {text|audio|video} data to be downloaded via the interweb + exchanged as shared cultural resources. (bensyverson, jon.satrom ++ jonCates) Dan Sandin interviewed by criticalartware coreDevelopers: bensyverson, jon.satrom ++ jonCates @ the Electronic Visualization Lab @ the University of Illinois at Chicago http://www.evl.uic.edu/ CHI IL .US 2003.04.09 video edit by criticalartware coreDevelopers: bensyverson, jon.satrom ++ jonCates http://www.criticalartware.net this criticalartware interview is a shared cultural resource released under Creative Commons Attribution-NonCommercial-ShareAlike version 2.0 http://creativecommons.org/licenses/by-nc-sa/2.0/ http://www.theartgalleryofknoxville.com/podcast/dS.int_full.mov Fri, 9 Feb 2007 00:00:00 EST no29:13Dan Sandin, Electronic, Visualization, Video Art, Video, SAIC, Chicago, Radical, interview, artware, criticalartware, Activism, Networks, New Media Art, Art, Gallery Phil Morton and Jane Veeder 1979 video by Phil Morton and Jane Veeder "Amateur TV", distribution facilitated by criticalartware 1979 video by Phil Morton and Jane Veeder "Amateur TV", distribution facilitated by criticalartware Program # 9 (Amateur TV), 1979 Phil Morton and Jane Veeder produced this video as a new type of Art experiment that combines production with an instructional framework and openly collaborative techniques. The video documents the Image Processor created by Dan Sandin - and the early video movement at the School of the Art Institute of Chicago as well as different techniques of technical instruction (empowering communication through electronic tools) and the various artists involved in producing electronic social action (Amateur TV). -- Phil Morton (1945-2003) received degrees in art education and fine arts from Penn State and Purdue. He began teaching at the School of the Art Institute of Chicago in 1969. Within a year he established the first video department in the country to offer both BA and MFA degrees in video production. In subsequent years Morton continued to expand the media resources and educational opportunities at the School of the Art Institute, establishing the Video Data Bank as a collection of videotaped presentations and interviews with artists in 1972. In collaboration with Dan Sandin, Morton distributed plans for the Image Processor (IP), a modular video synthesizer based on the Moog audio synthesizer. In 1974, he established "P-Pi's" or the Pied Piper Interactioning System, a cable TV station in South Haven, Michigan. -- Jane Veeder started her career in electronic media arts in 1976 as a video artist and began working with digital computers in 1978. A member of the pioneering Chicago computer graphics community in the early 1980’s, she has produced internationally exhibited animated and interactive computer artworks and designed user interfaces for graphics software development. Her 1982 animated MONTANA was included in the NYMOMA inaugural video collection, in 1984 her interactive self-portrait game,WARPITOUT, went on permanent exhibit at the Ontario Science Center,and in 1985 Ars Electronica commissioned 4KTAPE. A longtime SIGGRAPH volunteer, she chaired two 1995 panels on the videogame industry,and spoke on a 1997 panel on Educating Animators for Entertainment. In April 1996, she gave a talk at NYMOMA on The Digital Artist and Current Tool Development Trends and presented computer animated JG3D. -- about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net http://www.theartgalleryofknoxville.com/podcast/Program9.mov Fri, 26 Jan 2007 00:00:00 EST no31:29Video Art, Video, SAIC, Chicago, Radical, Phil Morton, Jane Veeder, artware, criticalartware, Activism, Networks, New Media Art, Art, Gallery Phil Morton and Jane Veeder 1979 video by Phil Morton and Jane Veeder "Revised for TV", distribution facilitated by criticalartware 1979 video by Phil Morton and Jane Veeder "Revised for TV", distribution facilitated by criticalartware Program # 7 (Revised for TV), 1979 Phil Morton and Jane Veeder produced this video as a new type of Art experiment that combines production with an instructional framework and openly collaborative techniques. The video uses digital equipment and techniques to create Video Art - and combines social documentation, instruction, and layered images to create a type of open video. It documents the early video movement at the School of the Art Institute of Chicago as well as different techniques of technical instruction (empowering communication through electronic tools) and various artists involved in producing electronic social action (how art can interact with TV - Revised for TV). -- Phil Morton (1945-2003) received degrees in art education and fine arts from Penn State and Purdue. He began teaching at the School of the Art Institute of Chicago in 1969. Within a year he established the first video department in the country to offer both BA and MFA degrees in video production. In subsequent years Morton continued to expand the media resources and educational opportunities at the School of the Art Institute, establishing the Video Data Bank as a collection of videotaped presentations and interviews with artists in 1972. In collaboration with Dan Sandin, Morton distributed plans for the Image Processor (IP), a modular video synthesizer based on the Moog audio synthesizer. In 1974, he established "P-Pi's" or the Pied Piper Interactioning System, a cable TV station in South Haven, Michigan. -- Jane Veeder started her career in electronic media arts in 1976 as a video artist and began working with digital computers in 1978. A member of the pioneering Chicago computer graphics community in the early 1980’s, she has produced internationally exhibited animated and interactive computer artworks and designed user interfaces for graphics software development. Her 1982 animated MONTANA was included in the NYMOMA inaugural video collection, in 1984 her interactive self-portrait game,WARPITOUT, went on permanent exhibit at the Ontario Science Center,and in 1985 Ars Electronica commissioned 4KTAPE. A longtime SIGGRAPH volunteer, she chaired two 1995 panels on the videogame industry,and spoke on a 1997 panel on Educating Animators for Entertainment. In April 1996, she gave a talk at NYMOMA on The Digital Artist and Current Tool Development Trends and presented computer animated JG3D. -- about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net http://www.theartgalleryofknoxville.com/podcast/Program7.mov Fri, 26 Jan 2007 00:00:00 EST no32:15Video Art, Video, SAIC, Chicago, Radical, Phil Morton, Jane Veeder, artware, criticalartware, Activism, Networks, New Media Art, Art, Gallery Phil Morton 1976 video by Phil Morton, distribution facilitated by criticalartware 1976 video by Phil Morton, distribution facilitated by criticalartware General Motors, 1976 Phil Morton Phil Morton (1945-2003) received degrees in art education and fine arts from Penn State and Purdue. He began teaching at the School of the Art Institute of Chicago in 1969. Within a year he established the first video department in the country to offer both BA and MFA degrees in video production. In subsequent years Morton continued to expand the media resources and educational opportunities at the School of the Art Institute, establishing the Video Data Bank as a collection of videotaped presentations and interviews with artists in 1972. In collaboration with Dan Sandin, Morton distributed plans for the Image Processor (IP), a modular video synthesizer based on the Moog audio synthesizer. In 1974, he established "P-Pi's" or the Pied Piper Interactioning System, a cable TV station in South Haven, Michigan. He was the sole proprietor of his own independent video production company, Greater Yellowstone News, which published, among other things, video news tapes of the wildlife and people of the Greater Yellowstone area, many of which were shown on Tom Weinberg's PBS program "The 90s." General Motors, 1976 [General Motors] is a response to the inability of his local General Motors dealer to fix Morton's 1974 Chevy van to his satisfaction, this tape blends experimental image-processing techniques with documentation of the faulty vehicle. Morton states that he is upset primarily because General Motors "can't get their tech together," and as a video producer involved with using and maintaining high-tech equipment, this strikes Morton as especially bothersome. The tape reads like a consumer's manifesto, and addresses the popular notion that video could be used to reconfigure power relations, for example, between manufactures and consumers. Morton delivers his psychedelically-inflected performance with humor and the conviction of an embattled consumer. The tape was produced at the School of the Art Institute of Chicago. - Video Data Bank, Chicago about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net http://www.theartgalleryofknoxville.com/podcast/GeneralMotors.mov Fri, 19 Jan 2007 00:00:00 EST no1:01:53Video Art, Video, SAIC, Chicago, Radical, Phil Morton, artware, criticalartware, Activism, Networks, New Media Art, Art, Gallery Ben Syverson criticalartware introduces Liken, the new substructure of the criticalartware.net [application/platform] criticalartware introduces Liken, the new substructure of the criticalartware.net [application/platform] criticalartware introduces liken, the new substructure of the criticalartware.net [application/platform]. liken stores criticalartware's growing database of information, resources + discourse as a collection of self-connecting nodes that anyone can add to [+/or] comment on. the pathways connecting these nodes slowly change based on use; more popular paths grow stronger, while weaker paths fade away. these relationships are also described in a public XML file, making it possible for anyone to develop alternate [interfaces/interpretations] of liken's unique + ever-changing content + structure. liken departs from a hierarchical site structure which over-categorizes information, relinquishing some of the supremacy of "hard-coding" links between documents. part discussion platform, part [plastic/collaborative] site structure, + part [iterative/genetic] search engine, liken [encourages/ necessitates] a more [subjective/personalized] form of navigation. unlike anonymous "browsing," the paths that liken users follow can be [stored/reviewed/discussed], + affect the structure of the [application/platform] itself, creating a [literal/cybernetic] feedback loop in which less-used paths wither away, well-used paths are strengthened, + entirely new paths grow + crisscross recursively in response to discussion + new resources. Like lichen, itself a composite meta-organism resulting from the symbiotic growth of algae + fungus, liken's [form/structure/body] is [a/an] [product/agent] of criticalartware's resources that grows symbiotically with related discourses. furthermore, by using a publicly-accessible XML file to describe these [pathways/relationships] of liken, criticalartware [invites/encourages] users to develop [alternate/critical/"new"] ways of [imagining/visualizing/navigating] liken's [pathways/relationships]. liken could easily be traversed as a 3D video game, a mindmap, a soundEngine, or a Flash animation. in this way, liken is the beta version of a criticalartware operating system, for which anyone can develop compatible [applications/plug-ins/skins/filters]. upload new person ? [Y/N] In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net http://www.theartgalleryofknoxville.com/podcast/LikenAndYou.mov Wed, 17 Jan 2007 00:00:00 EST no4:28Liken, Likn, artware, criticalartware, Wiki, Collaborative, Video Art, Networks, New Media Art, Art, Gallery AGoK Exhibition View, Jan 2007 Exhibition View, Jan 2007 Temporary Autonomous Space: (no good architecture) (Performer/Audience/Mirror) http://www.theartgalleryofknoxville.com/distributionreligion.m4v Mon, 15 Jan 2007 00:00:00 EST no1:20Distribution Religion, Temporary Services, criticalartware, People Powered, Relational Art, Video Art, r4wb1t5, Knoxville, Networks, New Media Art, Art, Gallery Dan Sandin Dan Sandin describing the function of his Image Processor in 1973, distribution facilitated by criticalartware Dan Sandin describing the function of his Image Processor in 1973, distribution facilitated by criticalartware 5 Minute Romp Through the IP, 1973 Dan Sandin In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray level information of multiple video inputs. Sandin decided that the best distribution strategy for his instrument "was to give away the plans for the IP and encourage artists to build their own copies. This gave rise to a community of artists with their own advanced video production capabilities and many shared goals and experiences." In this segment, Sandin demonstrates the routing of the camera signal through several basic modules of the IP, producing a "primitive" vocabulary of the effects specific to video. - Video Data Bank Inventor and practioner of the Image Processor (IP), Dan Sandin is a seminal figure in the technological development of the video medium. In 1973 Sandin successfully designed and built the first Image Processor (IP) as a modular, patch programmable, analog computer optimized for the manipulation of gray level information of input video signals. The IP allows artists to freely play with the color and composition of a video image. Trained in nuclear physics, Sandin first became interested in video in 1967 while helping organize student demonstrations on the University of Illinois campus. He considers his career has having three main thrusts: "the design of electronic instruments for visual performance and personal growth; the development of educational facilities and programs related to the use of electronic screens (electronic visualization); and the production and exhibition of visual works for personal expressive reasons." "About creativity—my personal view of it is kind of like I'm a pipe or conduit. And all this stuff just happens to be flowing through me because I've chosen to position myself in that flow. I have no problem with the word Ôcreation' as long as people don't lay too much molasses on it." —Dan Sandin about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net http://www.theartgalleryofknoxville.com/podcast/dS.rsrc_5RTIP.mov Mon, 15 Jan 2007 00:00:00 EST no6:36Dan Sandin, Electronic, Visualization, Video Art, Video, SAIC, Chicago, Radical, interview, artware, criticalartware, Activism, Networks, New Media Art, Art, Gallery Max Neuhaus Max Neuhaus, video documentary of Radio Net's realization process on National Public Radio, 1977 Max Neuhaus, video documentary of Radio Net's realization process on National Public Radio, 1977 Radio Net, 1977 Max Neuhaus "The Networks propose the self-evolution of new musics. Their premise is a form of music-making which remains now only in societies untouched by modern civilization. Rather than something to be listened to, music in these cultures is an activity open to the public at large – a dialogue with sound rather than a performance. I believe this to be the original impulse for music in mankind." - Max Neuhaus Max Neuhaus has worked in the fields of contemporary art and music for more than 40 years. He is credited with being the first to extend sound as a primary medium into the field of contemporary art. His work has been exhibited internationally in museums and galleries, including exhibitions at the Dia Art Foundation, New York; the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Musée d'art moderne de la ville de Paris; and the Kunsthalle, Bern. This video is a document taken in 1977 of the Radio Net project "a two-hour nationwide radio event where ten thousand people played a cross-country instrument with their voices" facilitated by NPR. Max Neuhaus: "It grew out of an interest of mine in the potential of music-making with the lay public over networks. The first realization in this direction was Public Supply in 1966. … Over the next decade, I gradually developed this concept with other realizations and finally in 1977 realized Radio Net … In 2000 I realized that I could do it on the web…." An exhibition of these Networks, featuring the online tool Auracle, was on display during the month of December at the Art Gallery of Knoxville. The Networks (or broadcast works) are systems, " virtual architectures," which act as a forum open to anyone for the evolution of new musics. Auracle, the most recent Neuhaus network, is an online tool available at Auracle.org - visitors to the Auracle website may experience the artwork 24 hours a day, seven days a week. During the month of December Auracle was broadcast through the Art Gallery of Knoxville space. Radio Net Video produced by Margaret Gregg (with supplementary video by Ron McCoy and Steina Vasulka) A Production of Broadside Television, 1977 http://www.max-neuhaus.info http://www.theartgalleryofknoxville.com/podcast/radionet.mp4 Fri, 12 Jan 2007 00:00:00 EST no25:09Max Neuhaus, Sound Art, NPR, Radio Net, Networks, New Media Art, Art, Gallery AGoK Exhibition View, Dec 2006 Exhibition View, Dec 2006 Max Neuhaus, Networks Exhibition Views, December 2007 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/neuhaus.m4v Sat, 30 Dec 2006 00:00:00 EST no0:42Max Neuhaus, Sound Art, NPR, Radio Net, Networks, New Media Art, Art, Gallery Jack Neely Jack Neely talks about "The Knoxvilles that Never Were" during the exhibit Building Communities Jack Neely talks about "The Knoxvilles that Never Were" during the exhibit Building Communities "The Knoxvilles that Never Were" Jack Neely The Art Gallery of Knoxville: "Building Communities," an exhibit done in coordination with the Center for Urban Pedagogy (CUP), Brooklyn, NY. The show, which was on exhibit from November 1 to November 25, considered a number of development plans, some enacted, others proposed, that have impacted how Knoxvillians experience their city and search for new ways to create communities, from urban renewal to Universe Knoxville. This video was taken from a public talk given at The Art Gallery of Knoxville November 10, 2006. Jack Neely is a Knoxville-based writer and historian. He is a columnist for the Metro Pulse weekly, and the author of several books on Knoxville history, including "Knoxville's Secret History." Talk organized by Angela Starita Video by Richard Bennett http://www.theartgalleryofknoxville.com/podcast/jackneely.m4v Fri, 22 Dec 2006 00:00:00 EST no39:17Knoxville, TN, Jack Neely, Metro Pulse, Teaching, History, City, Design, Pedagogy, Art, Gallery AGoK Exhibition View, Nov 2006 Exhibition View, Nov 2006 Building Communities The Center for Urban Pedagogy / AGoK Exhibition Views, November 2006 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/cup.m4v Fri, 8 Dec 2006 00:00:00 EST no1:17The Center for Urban Pedagogy, Art, Gallery Bernard Brunon XV Biennale de Paris: interview with painter Bernard Brunon XV Biennale de Paris: interview with painter Bernard Brunon XV BIENNALE DE PARIS Faced with international exhibitions such as the Biennales at Sao Paulo and at Venice, which paid tribute to established artists, in 1958 Raymond Cogniat,(at the time commissioner of the French pavilion in Venice), suggested to André Malraux that an exhibition should be organised in Paris. The aim was to present a panorama of young international creation. The Biennale de Paris was thus created in 1959. Almost fifty years after it was first celebrated, the XVth Biennale de Paris will be held in Paris, France and abroad, mostly between 1 and 31 October 2006. Nearly 100 projects from more than 20 countries will take part : 58 projects in Paris and its surrounding areas, 11 in the provinces and 29 in foreign countries. The approaches presented speak for themselves. The Biennale de Paris no longer imposes objects, works, professionals artists or ideas. That’s Painting Productions House painting company created by Bernard Brunon: “Maybe one of the roles of the artist is to provide a link with reality, proposing the experience of a direct link, unmediated to the real. The practice of house painting as an artistic activity, as a kind of painting freed from representation, can seem to be rather limited. But conceptually that's a very enriching activity I have been working on for more than ten years Getting out of the canvas and giving up paintings has enabled me to exceed the formal level and to open my practice to other fields such as the economic and the social ones, with an activity that is part of everyday life. House painting may not fulfill the same aesthetic demands as abstract painting, nevertheless quality is essential for its production. Stressing the process instead of the result and the presence instead of the representation, and emphasizing the here and now, I have exceeded the issues of form/substance. I can address other kinds of questions, related to everyday life." http://www.biennaledeparis.org/ http://www.theartgalleryofknoxville.com/podcast/thatspainting.m4v Sun, 3 Dec 2006 00:00:00 EST no12:13Brunon, Painting, Biennale de Paris, Biennale, Paris, Art, Gallery AGoK Exhibition View, Oct 2006 Exhibition View, Oct 2006 XV Biennale de Paris Exhibition Views, November 2006 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/paris.m4v Sun, 29 Oct 2006 00:00:00 EST no0:45Biennale de Paris, Paris, Biennale, Art, Gallery MEC Motor Karaoke machine by MEC, installation in Paris (the louder you scream, the faster the video runs) Motor Karaoke machine by MEC, installation in Paris (the louder you scream, the faster the video runs) Motor Karaoke by MEC http://www.myspace.com/mecmecmec Installation in the art gallery "GLASSBOX" / Paris 2 helmets are on 2 mic stands, there is a mic inside each helmet. Mics gets inside a computer, a Max/msp/jitter patch has been built and is running on this computer. This patch commands a video sequence reproduced 2 times. The louder you scream, the faster the video runs. You have to make 5 laps to win, the louder, the faster! http://www.theartgalleryofknoxville.com/podcast/motorkaraoke.m4v Fri, 15 Sep 2006 00:00:00 EST no2:38Karaoke, Motor, MEC, Art, Gallery The Faultless Karaoke performance of World Revolutionary Elites: Studies in Coercive Ideological Movements (1966) Karaoke performance of World Revolutionary Elites: Studies in Coercive Ideological Movements (1966) THE FAULTLESS lives by the motto: pink is not red! THE FAULTLESS performs lo-rez, lo-fi, lo-bit, ascii punk + digital system crashes. the faultless performances combine electro punk errorism, the spirit of digital hardcore + remixes of sampled memories from various punk hystories. T.I.R.E. aka The International Revolutionary Elite Presented as part of the exhibition "Karaoke" at The Art Gallery of Knoxville, September 2006 THE FAULTLESS presents "The International Revolutionary Elite", a [performance/project] that digitally samples + remixes [audio/video] from punk bands that the faultless was formerly in as a teenager (1988) + texts from World Revolutionary Elites: Studies in Coercive Ideological Movements (1966). http://www.thefaultless.info http://www.theartgalleryofknoxville.com/podcast/tire.m4v Wed, 30 Aug 2006 00:00:00 EST no13:37Karaoke, Art, Gallery, Punk, Revolutionary AGoK Exhibition View, Sept 2006 Exhibition View, Sept 2006 The Art Gallery of Knoxville is proud to present « Karaoke » an exhibition of artwork by John Baldessari, Bryan Baker, jonCates, Rineke Dijkstra, Marisa Olson, Abe Linkoln, MEC, Red 76, Pipilotti Rist, Karaoke Smashup, and Casey Wooden This exhibit frames artworks that address the use or influence of Karaoke. As a tool, Karaoke enables an individual to form systems of ownership - it is an assertion of property and rights. Eleven pieces of Video Art will be on display September 1 - 23. "The power to control a portion of the material objects is the very foundation of power and authority. Ownership of property is therefore a source of power and the realization of the human will, human ego and human desires. Human life involves the use of material resources and as such some form of property relations is a necessity for life." http://www.geography.ccsu.edu/kyem/GEOG473/4thWeek/What_is_Private_Property.htm Exhibition Views, November 2006 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/karaoke.m4v Fri, 1 Sep 2006 00:00:00 EST no0:37John Baldessari, Bryan Baker, jonCates, Rineke Dijkstra, Marisa Olson, Abe Linkoln, MEC, Red 76, Pipilotti Rist, Karaoke Smashup, and Casey Wooden, Karaoke, Art, Gallery Lou Mallozzi Sound performance by Lou Mallozzi Sound performance by Lou Mallozzi Lou Mallozzi The Art Gallery of Knoxville Lou Mallozzi (b. 1957) is an audio artist in Chicago who dismembers and reconstitutes sound, language, gesture, and image in various media. He works in live performance, radio art, sound installation, CD recording, soundtrack design, and visual art. He has presented works at numerous festivals, concerts, galleries, and broadcasts since 1986, including the Bludenz Festival for Contemporary Music (Austria), the TUBE Audio Art Series (Munich), Fylkingen (Stockholm), The Museum of Contemporary Art (Chicago), The Fort Wayne Museum of Art (Indiana), Podewil (Berlin), The PAC/edge Performance Festival (Chicago), Aetherfest Radio Art Festival (Albuquerque), The Resonance FM Radio Festival (London), Bayerischer Rundfunk (Munich), The Chicago Cultural Center, The Donald Young Gallery, Corbett vs Dempsey, and many others. http://www.theartgalleryofknoxville.com/podcast/loumallozzi.m4v Fri, 26 May 2006 00:00:00 EST no8:34Art, Gallery, Museum, Sound Art, Lou Mallozzi Nato Thompson MASS MoCA curator Nato Thompson on Art and radical practice MASS MoCA curator Nato Thompson on Art and radical practice Nato Thompson The Art Gallery of Knoxville Wednesday, February 15 Nato Thompson is a writer, activist, and curator at MASS MoCA in North Adams, Massachusetts. The MASS MoCA describes itself as an open platform, a welcoming place that encourages dynamic interchange between making and presenting art, between the visual and performing arts, and between our extraordinary historic factory campus and the patrons, workers and tenants who again inhabit it. Nato is a co-organizor at the Department of Space and Land Reclamation and strong believer in radical practice. His writings on art and politics have been published in Parkett, New Art Examiner, the College Art Association Art Journal and In These Times. He is also contributing writer to the Journal of Aesthetics and Protest. http://www.theartgalleryofknoxville.com/podcast/natothompson.m4v Fri, 21 Apr 2006 00:00:00 EST no31:03Art, Museum, MASS MoCA, Nato Thompson Shaking Ray Levis Music by the Shaking Ray Levis (Dennis Palmer, Bob Stagner, and Erik Hinds) Music by the Shaking Ray Levis (Dennis Palmer, Bob Stagner, and Erik Hinds) SHAKING RAY LEVIS Live at The Art Gallery of Knoxville (Dennis Palmer, Bob Stagner, and Erik Hinds) The Shaking Ray Levis is an ongoing collaboration of musicians with a common interest in free improvisation. The project was conceived and led by the Chattanooga, Tennessee-based team of Dennis Palmer and Bob Stagner. They use storytelling, synthesizers, samplers and percussion to achieve their distinctive sound. They are the first American group to have recorded for Incus Records, the record label of British free improvisational guitarist Derek Bailey. Additionally, they have performed and recorded with John Zorn, David Greenberger, Fred Frith, Min Tanaka, Amy Denio, and Derek Bailey, as well as with many other critically acclaimed artists. Featured here is a performance in December 2005 at The Art Gallery of Knoxville featuring Erik Hinds. www.shakingray.com www.erikhinds.com http://www.theartgalleryofknoxville.com/podcast/shakingraylevis.m4v Fri, 17 Mar 2006 00:00:00 EST no16:08Music, Jazz, Improvisation, Art, Museum, Experimental AGoK Exhibition View, Feb 2006 Exhibition View, Feb 2006 Jaime Bravo Exhibition Views, February 2006 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/february.m4v Sat, 25 Feb 2006 00:00:00 EST no1:54Jaime Bravo, Fiber Art, Art, Gallery Robby Herbst The Journal of Aesthetics and Protest co-founder Robby Herbst The Journal of Aesthetics and Protest co-founder Robby Herbst Robby Herbst: Examining a Global Glitch January 2006 http://www.journalofaestheticsandprotest.org/ Presented as part of the exhibition: Global Groove (Nation Building As Art) Robby Herbst is interested in the networks of visual media that foster the development of intersubjective power. His new-genres practice explores, initiates, and enacts democratic negotiations with culture. Since 1996 Robby has been around the creation of several autonomously run media collectives (Radio Dumbo, Indymedia Seattle and Los Angeles, Journal of Aesthetics and Protest). Currently he is excited about the Journal of Aesthetics and Protest's slide library. The library attempts to address the many problems of LA's gallery and academic art systems by unveiling "dark matter", accomplished through the creation of a publicly accessible archive. http://www.theartgalleryofknoxville.com/podcast/robby.m4v Sun, 19 Feb 2006 00:00:00 EST no19:16Art, Activism, Aesthetics, Protest, Video, Global, Museum, Experimental Valery Grancher Artist Valery Grancher, seeks out the Shiwiars Indians in High-Amazonia Artist Valery Grancher, seeks out the Shiwiars Indians in High-Amazonia The Shiwiars Project Valery Grancher www.theshiwiarsproject.org The Shiwiars Indians live on the western slope of the Andes cordillera, in High-Amazonia, in one of the zones of the planet the most isolated and in which the biodiversity is largest. It is however with them that the French artist Valery Grancher chose to establish a direct and creative bond and to divide it within the framework of its project for the Palais de Tokyo, Paris. Valery Grancher "A priori" by Marc Sanchez Valery Grancher is an explorer. Territories of art, reports/ratios human or new technologies, it is their comparison which interests it and wakes up its investigatory curiosity. Worried by the data which define today the relationship between space and time, in the telescopings with which each day the virtual world of Internet confronts us, it is starting from their aesthetic dimension that it works and builds proposals with the multiple crossings. Which are the data on which the identity in a world of division and transfers is based? It is by raising the question in terms of language, of flow of exchanges or behavioral navigation that Valery Grancher encircles, by successive loops, a territory in which the objects of the daily newspaper are taken as tools for analysis and instruments of discovered new social and cultural stakes of the modern world. Which interest can you have to connect direct a village of Indians of the deep jungle of High-Amazonia with the visitors of a center of Parisian art or with the accustomed Net surfers of the blogs artists? On a side, one of the last free people of planet, Shiwiars, a community of some 700 hearts which lives on a slope of the Andes cordillera, with deepest of a forest in which biodiversity is largest and insulation deepest and, other side, accustomed and practise of total and communicating planet, set on new technologies and cultural neologisms. What can connect them? Which are their common interests and their points of divergence? How are they looked at and know only their reciprocal existence? It is not a question, here, to practise the analytical and comparative ethnology but, quite to the contrary, to put the question of the relevance of the artist to intervene about subjects out - a priori - of its zone of competence. A priori, because the experiment proves that there is very to gain to pose its glance out of the known field and all the art of the 20th century has us so many times constrained to give up our certainty than the practice should be taken of it. White chart is thus given to the artist to try the experiment of the bond, the total cultural immersion and, in the name of a project for the Palais de Tokyo whose forms of appearance are to be invented, to put it into practice "how to live together". In the heart of this human group hedonist, in whom each act is a concrete bond with the cosmology of surrounding nature, with the natural reports/ratios with the life and death, the chamanic magic and the conversations with the spirits, Valery Grancher will have to learn how to move, to create an open and subtle dialogue so that each one finds its account there and that a new bond is woven between universes that all seems to oppose - a priori. http://www.theartgalleryofknoxville.com/podcast/shiwiarsdoc.m4v Fri, 10 Feb 2006 00:00:00 EST no26:06Art, Video, Global, Museum, Experimental John Perreault Art critic John Perreault speaks about Globalization and Art Art critic John Perreault speaks about Globalization and Art The Art Gallery of Knoxville John Perreault: Globalization in Art Presented as part of the exhibition: Global Groove (Nation Building As Art) John Perreault is an Art critic, curator, poet and artist. From 1966 to 1974 he was the Art critic for the Village Voice and then from 1975 to 1983 the senior Art critic and Art editor at the Soho News. His writings on Art have appeared in Art in America, Artforum and numerous Art journals and anthologies. From 1978 to 1981 he was the president of the American section of the international association of Art critics. He currently writes regularly for NY Arts Magazine where he is also a contributing editor. He is a recent recipient of the Penny McCall Foundation award for Art criticism. His Art Blog, Artopia, may be found at: http://www.artsjournal.com/artopia/ http://www.theartgalleryofknoxville.com/podcast/johnperreault2.m4v/ Tue, 17 Jan 2006 00:00:00 EST no18:23Art, Video, Globalization, Museum, Experimental The Land FoundationMerging ideas by different artists to cultivate a place of and for social engagement.Merging ideas by different artists to cultivate a place of and for social engagement.The Land Foundation: www.thelandfoundation.org Presented on the occasion of the Art Gallery of Knoxville, January 2006 exhibition: Global Groove (Nation Building as Art). The Land was initiated in 1998 and includes work by artists Rirkrit Tiravanija, Superflex, and Carl Michael von Hausswolff. The Land is a place dedicated to the merging of ideas by different artists to cultivate a place of and for social engagement. Though initially the action to aquire the rice fields were initiated by two artists from Thailand, the land was initiated with anonymity and with out the concept of ownership. The land was to be cultivated as an open space, though with certain intentions towards community, towards discussions and towards experimentation in other fields of thoughts. The Land Foundation reflects an honest attempt by artists to create open systems for new art. This video is a walk around the Land Foundation showing the artwork happening through this project. In this exhibition, the Art Gallery of Knoxville reflects on how ideas of "global" are influencing artwork. The phrase "Global Groove" was introduced by pioneer video artist Nam June Paik in 1973 as a title for his own view of social communication after the influence of television. The idea of a "Global Groove" extended the phrase "global village" put forward by media theorist Marshall McLuhan. Mon, 9 Jan 2006 00:00:00 ESTno31:17 Art, Video, Museum, Experimental AGoK Exhibition View, Jan 2006 Exhibition View, Jan 2006 Global Groove (Nation Building as Art) Sarawut Chutiwongpeti, Valéry Grancher, CM von Hausswolff, Leif Elggren, Gordon Matta-Clark, Phill Niblock, Superflex (with a further discussion of work by Nam June Paik) Exhibition Views, February 2006 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/january.m4v Sun, 1 Jan 2006 00:00:00 EST no1:14Sarawut Chutiwongpeti, Valéry Grancher, CM von Hausswolff, Leif Elggren, Gordon Matta-Clark, Phill Niblock, Superflex, Art, Gallery Phill NiblockExcerpt from The Movement of People Working by Phill NiblockExcerpt from The Movement of People Working by Phill NiblockThe Movement of People Working by minimalist composer, film maker and photographer Phill Niblock portrays human labor in its most elementary form. It is the combination of his slowly evolving harmonic music that creates an otherworldly masterpiece. The films and the music combine elements that seem contradictory, creating tension as a result. Impersonal motion patterns filmed in vibrant 1970s Kodachrome move side by side with glorious sounds that are caused by an acoustic phenomenon. Phill Niblock is an Indiana-born (1933) New York-based avantgarde composer and multimedia artist, founder of Experimental Intermedia. Niblock's program is, fundamentally, to create music without rhythm or melody, by slow accumulation of microtones. Niblock's droning soundscapes originate from the superimposition and juxtaposition of sustained sounds which are, in turn, obtained from reprocessing acoustic instruments. Since this requires a competent manipulation of the sounds actually produced by the instruments, Niblock's music is often eventually refined by the composer while sitting in front of an electronic or digital tool. Extreme Records: http://www.xtr.com/ Phill Niblock: http://www.phillniblock.com/Sun, 4 Dec 2005 00:00:00 ESTno06:45Art, Video, Museum, Niblock, Sound, Experimental AGoK Exhibition View, Nov 2005 Exhibition View, Nov 2005 Building an Archive Exhibition Views, November 2005 The Art Gallery of Knoxville http://www.theartgalleryofknoxville.com/november.m4v Tue, 1 Nov 2005 00:00:00 EST no1:14AGoK, Archive, Art, Gallery